Hypocrisy Is The Greatest Luxury

Universal Music Australia Pty. Ltd.
Release date
16 Apr 1992
Running length
13 tracks
Running time


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    Track     Duration Listeners
1 Satanic Reverses 4:45 8,824
2 Famous And Dandy (Like Amos 'N' Andy) 6:34 6,824
3 Television The Drug Of The Nation 6:39 7,656
4 Language Of Violence 6:14 6,526
5 The Winter Of The Long Hot Summer 8:00 5,112
6 Hypocrisy Is The Greatest Luxury 3:48 7,152
7 Everyday Life Has Become A Health Risk 4:53 6,298
8 INS Greencard A-19 191 500 1:36 6,183
9 Socio-Genetic Experiment 4:17 5,908
10 Music And Politics 4:02 5,989
11 Financial Leprosy 5:30 4,771
12 California Über Alles 4:14 2,815
13 Water Pistol Man 5:56 4,172

About this album

The Disposable Heroes tackled every last big issue possible with one of 1992’s most underrated efforts. Dr Dre and G-funk became all the rage by the end of the year and beyond, but for those looking for at least a little more from hip-hop than that soon-to-be-clichéd style, Hypocrisy Is the Greatest Luxury did the business. The group’s origins in the Beatnigs aren’t hidden at all — besides a stunning, menacing revision of that band’s “Television, the Drug of the Nation,” the Heroes’ first single, the combination of Bomb Squad and industrial music approaches is apparent throughout. Consolidated’s Mark Pistel co-produced the album while Meat Beat Manifesto’s Jack Dangers helped mix it with the band, creating a stew of deep beats and bass and a constantly busy sonic collage that hits as hard as could be wanted, but not without weirdly tender moments as well. On its own it would be a more than attractive effort, but it’s Michael Franti’s compelling, rich voice and his chosen subject matter that really make the band something special. Nothing is left unexamined, an analysis of the American community as a whole that embraces questions of African-American identity and commitment (“Famous and Dandy (Like Amos ‘n’ Andy)”) to overall economic and political insanity (“The Winter of the Long Hot Summer,” a gripping, quietly threatening flow of a track). There’s even a great jazz/funk number, “Music and Politics,” with nothing but a guitar and Franti’s fine singing voice, ruminating on emotional expression in music and elsewhere with wit and sly anger.

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